Making an adventure game has never been easier

In the early years of personal computers, the adventure game genre dominated, exemplified by such popular titles as King’s mission And The Secret of Monkey Island. Toronto-based artist Julia Minamata grew up playing this style of game, which emphasizes storytelling and story-based puzzles.

“In an adventure game, you move at your own pace,” Minamata said in episode 459. The Geek’s Guide to the Galaxy Podcast. “As a smart, bookish kid – I find interactive storytelling to be the most engaging form of play.”

Video game journalist Kurt Kalata writes and edits for his love of adventure games A guide to classic graphic adventuresA massive tome describing dozens of different games. It’s the kind of book anyone who grew up in the 90s wishes they had as a kid. “I remember putting it down. [adventure game guidebook] “Although it’s my bible on how to play the game and how to beat them,” he said. “I wanted something like that, but really about games.”

The adventure game genre has been around for years, but the advent of tools like Adventure Game Studios has created a thriving indie scene. Minamata is hard at work. Crimson DiamondA 16-color adventure game inspired by the 1989 murder mystery The colonel’s will.

“What got me back into the genre was when I started seeing games made by solo developers,” says Minamata. “Yahtsee Croshaw built Chzo Mythos, Francisco Gonzalez created the Ben Jordan series. These are people who use Adventure Game Studio, and that was very inspiring to me.

And while tools like Adventure Game Studio help simplify the coding process, there’s still no shortcut to creating great works of art. Kalata spent months a Monkey Island– It is called an inspirational game Christopher Columbus is an idiot.But when it came time to refine the image, he hit a wall. “Everything was written in MS Paint, and eventually I said, ‘I don’t know if I can spend my time without doing this for a business project,’ and it came down to what I needed to do for a business project. Fine art,” he said.

Listen to the full interview with Julia Minamata and Kurt Calata in Episode 459 The Geek’s Guide to the Galaxy (on top of). And check out some highlights from the discussion below.

Kurt Kalata on Point-and-Click Games with Text Analyzer Games:

“[With a point-and-click game]You only have so many tools to interact with the world, so eventually if you try enough things you’ll figure it out, and that was a comfort blanket for me. You can try everything, and eventually you will find it. And the text parsers in Sierra games were not good compared to Infocom games which has a better vocabulary. “I think it would have been better if the game was a little more up front to tell you which things you understood – and also if you didn’t have to guess what it decided to name, or at least have more synonyms for certain words.”

Julia Minamata on game designers

“Before our current situation, I went to Pax West, and I got to meet Lori and Corey Cole, which was amazing, and I met the artist Douglas Herring. The colonel’s willIt is the main inspiration for my game. Al Lowe was there, so that was great. They were on an adventure game panel together, so I got to see them, and chat a bit with Lori and Corey Cole. … So it was great to see, and to go to events to showcase my game—just running into people here and there and seeing people who are still growing. [games]. It was very encouraging.

Julia Minamata is on. The colonel’s will:

“The artists are given a lot of leeway in terms of what they produce. Some reference materials are given, some photos of similar houses, but they are pretty much left to themselves. with things like that King’s missionWhat could happen is that Roberta Williams made a basic sketch of ‘Here’s a tree, and here’s the stream, and here’s the rock’, and she passed it on to the artists, who in turn interpreted that. To become more professional. But what was good about. The colonel’s will Didn’t she do that? She just said ‘go and do the thing’ [the artists] They were able to create this amazing atmosphere from the ground up.

Kurt Kalata about the future Monkey Island:

“I’ve been involved with a limited run project, and I know you’re hoping this whole project will generate some interest at Disney. Disney is so big they don’t even know what it is. [Monkey Island] It was, because it’s just ‘some old game from the 90s that people like’. So they said, ‘Okay, people are interested in this. Monkey Island thing, and here’s the main designer who wants to do something, so maybe make some kind of connection.’ … The stars must align. A person who works together [these companies] Must be a fan of these games. Someone should be worried.”

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